Bunny saw sold out screenings at this year’s SXSW, and for good reason. The feature length directorial debut from James Branson alongside producer Taylor Thompson, explores a post apocalyptic Australia, ruined by the effects of climate change. We are taken into the world of Bunny (played by Kate Wilson in her feature debut), a woman who’s been forced to come to terms with the unruly environment she has been born into. And as supplies dwindle, and her father (played by country singer Andy Golledge) unexpectedly passes away (coincidently not until after he has built a comfortable home in a shack equipped with working energy and running water), Bunny resorts to hunting people for her own survival.
The film opens up to real footage of the Australian bushfires of 2020 – arguably one of the scariest shots of the film. It’s confronting and jarring; a brutal reminder of one of the hardest moments in the nation’s history. The initial set up of this shot makes the film feel more grounded in reality and almost forces you to think of what the future generations may endure. This scene is also the first time you hear the brilliant score created by James Branson alongside supporting actor Ôntrei – who plays The Intruder later on in the film. The music feels invasive and uncomfortable, setting the tone for the rest of the film.
We open to the first of three acts, where we are introduced to Bunny as a lone survivor. Her demeanour is stoic and distant; making it difficult to initially perceive who she is as a person. We see how she lives her life back in her home; alone, yet comfortable in her domestic haven. And in a sudden switch in tone, we watch events unfold that lead Bunny to callously murdering a Hitchhiker (Saxon Cook) and proceeding to eat at his flesh.
Jumping a few years back, we get a glimpse at Bunny’s life with her father. What seems like a father and daughter trying to survive under difficult circumstances while navigating the natural push and pull of familial ties, quickly shifts into a story of the father’s mental illness and Bunny’s first taste of what she will eventually become.
Then we land right back in the present. Bunny’s home is attacked in the night by The Intruder, whose efforts to take her hostage and take over her home falls flat when he realises that she is truly not like the others. Ultimately leading to his violent demise.
James Branson and Taylor Thompson, who own the independent film and video production company, Sneaky Films, have created an impressive feature debut. It is incredibly thrilling, with the score and sound design truly being its own key character in building an atmosphere that feels so genuinely uncomfortable and hard to watch, that the inherently violent scenes are bound to make your skin crawl with disgust and horror through these elevated sounds. Yet somehow, they also managed to compliment the violence with heart. Despite Bunny being a cannibalistic mass murderer, she still has to grapple with their sense of self and come to terms with who they are and how they belong in the world – a universal feeling even in a post-apocalyptic world.
Performances from Kate Wilson and Ôntrei were also phenomenal. For their first onscreen performances, they were captivating. Kate Wilson particularly shined, having very little dialogue throughout the film, she was forced to convey most of the emotions and lead the story through her mannerisms alone.
A Q&A after the screening at Lido Cinemas in Hawthorn, Melbourne on Friday night only proved the amount of love and energy put into this film. While there are definitely aspects that could be tightened, every little moment in the film had a purpose and you can truly feel the passion from the cast and crew when posed with questions.
The creators and cast are currently touring around Australia to promote their film, giving audiences an insight into the film, showcasing exclusive deleted scenes, and sometimes even doing a Q&A after the screening. You can still check out the film and catch the cast on tour at the below dates:
- Eclipse Theatre – November 16th, November 17th, November 22nd, and November 23rd
- Mercury Theatre, Adelaide – December 6th
- Odeon Star Semaphore – December 7th
- Hayden Orpheum Picture Palace – December 12th
- Mount Vic Flicks – December 13th
Bunny has set a precedent of the type of work Sneaky Films are able to create under many constraints and it’ll be interesting to see what they come up with next.
